Sing Me a Story: The Metropolitan Opera's Book of Opera Stories for Children

by Jane Rosenberg, Jane Rosenberg (Illustrator), Luciano Pavarotti (Introduction)

Overview

“Engaging. . . . The text and illustrations exude the glamour, passion, and lyricism of opera.”—Publishers Weekly

Jane Rosenberg’s delightful retellings for children of the greatest operas—whether the tales are read as introductions to a opera or to relive a production already seen, art and text combine to give a clear understanding of plot, scene, and character. Young children in particular will enjoy reading the stories—or having them read—both as lovely fairy tales and to help them share in the magic of a real dramatic performance.

Here are the gaiety of The Barber of Seville and the lavish spectacle of Aïda. Sets, costumes, and lighting are re-created to give the true flavor of authentic productions and to approximate, as fully as possible, the experience of attending the opera oneself.

Product Details

ISBN-13:	9780500278734
Publisher:	Thames & Hudson
Publication date:	03/19/1996
Pages:	160
Product dimensions:	10.60(w) x 9.50(h) x 0.50(d)
Lexile:	920L (what's this?)
Age Range:	7 - 10 Years

About the Author

Jane Rosenberg is an author and illustrator and lives in Los Angeles.

Jane Rosenberg is an author and illustrator and lives in Los Angeles.

Editorial Reviews

Similar in style to Rosenberg's earlier work on ballet, Dance Me a Story , this engaging volume of opera stories is sponsored by the Metropolitan Opera Guild. The text and illustrations exude the glamour, passion and lyricism of opera, from Luciano Pavarotti's playful introduction--the tenor promises to look for the reader in the audience the next time he is on stage--to the last of the 15 vivid synopses which roll along, con brio , in the present tense. Alongside the so-called ABC's-- Aida , La Boheme and Carmen --are less often performed works such as L'Enfant et les Sortileges , Porgy and Bess and The Love for Three Oranges . The author skillfully refers to specific musical passages and uses dialogue drawn from the libretto to link each story to an actual performance. References to staging details, which vary with productions, are a less appropriate choice for inclusion. Although brief accounts in general cannot do justice to the deep emotion and psychological insight of Pagliacci or The Magic Flute , these failings are more than redeemed by Rosenberg's handsomely detailed watercolors, which convey the opulent sensuality of opera at its most sublime. All ages. (Nov.)

Publishers Weekly - Publisher's Weekly